Interpol's new album, Our Love To Admire, doesn't hit stores till July 10th, but Rock Daily recently scored an advance copy. Basically, it sounds like Interpol were let loose in Arcade Fire's church/studio; the band uses everything from strings to a chorus to handclaps in a daring attempt to trick out their moody post-punk sound. Here's a quick track-by-track preview:
1. "Pioneer to the Falls." This theatrical opening track showcases Interpol's new love for swooping strings and chilled-out piano.
2. ROCK DAILY PICK: "No I In Threesome." An awesome, apocalypse-heralding track with still more warm, friendly piano.
3. "The Scale" A gothic, bass-drum-driven romp, with cryptic lyrics like, "I made you and now I take you back."
4. "The Heinrich Maneuver." The album's first single sounds like Interpol's earlier stuff -- noise rendered moody and elegant.
5. "Mammoth." This very pretty, very angry track is built around layers of relentless guitars and the refrain "spare me the suspense."
6. ROCK DAILY PICK: "Pace is the Trick." This dark ballad starts out with the familiar spare echo of Daniel Kessler's guitar and Paul Banks's morose drawl and evolves into an anguished goth symphony.
7. "All Fired Up." This aggressive romp contains more angular guitars, and the lyrics are more violent and confrontational than typical Interpol (ex: "I dream of you draped in wires and leaning on the breaks"). Also: handclaps!
8. ROCK DAILY PICK: "Rest My Chemistry." A classic Interpol track, with layered, maudlin vocals and restless guitars over pulsating bass lines.
9. "Who Do You Think." This banging track features urgent Kessler-patented guitar sounds and a spooky choir in the background
10. "Wrecking Ball." On this track, Interpol seem to use every uncharacteristically lighthearted noisemaking aparatus on hand, from lilting vocal harmonies to playful sound effects and strings. This could be the first optimistic Interpol track ever.
11. "The Lighthouse." We never thought we'd say this about any Interpol track, but "The Lighthouse" has a vaguely mariachi theme to it. If Ian Curtis laid down vocals to a Rodrigo y Gabriela tune played slowly on electric guitars loaded with effects, this is how it would sound.